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00:00:27Gracias por ver el video
00:00:36Gracias por ver el video
00:01:22Gracias por ver el video
00:02:00Gracias por ver el video
00:03:12Oh, poor lad
00:03:13So you'd have to, you know, he'd have the light over there and you'd have to sleep this way
00:03:17And you couldn't, like, ask him to turn around
00:03:18It was good though, you know, you get to know each other a bit that way
00:03:51Yeah
00:03:52Yeah
00:04:04Yeah
00:04:05Yeah
00:04:05Yeah
00:04:07Yeah
00:04:26Yeah
00:04:28Yeah
00:04:31Yeah
00:04:33Yeah
00:04:35Yeah
00:04:38Yeah
00:04:40Yeah
00:04:43Yeah
00:04:47Yeah
00:04:48Yeah
00:04:50Yeah
00:04:57You know, my hair, I'm still trying to make it go back like a rock and roll hair
00:05:03But really, naturally, it just goes forward and we used to use that Vaseline, like really
00:05:09sick Vaseline and just get it back like that and I remember once we went to the swimming
00:05:15baths in Hamburg and I remember walking back down towards the reaper barn and it dried and
00:05:21And it was all like that and then by the evening we saw our friends who was all Mjögen and
00:05:27Ashriden
00:05:28And I remember them saying, oh no, no, don't do that, leave it like it is, it's really good
00:05:32And it was kind of like that and everybody around that time was starting to just, because of their influence,
00:05:39if they'd have said no, no, it's naff, we would have probably changed it but
00:05:42Because they liked it, then we liked it
00:05:45We didn't really go with it in a major way, we still
00:05:47I remember when it got into a permanent fixture
00:05:50I remember when John and I went to, he had his 21st and he got 100 quid off his uncle
00:05:55who was a dentist in Edinburgh
00:05:59You know, very, very elevated stuff that, we'd never known the likes of like anyone who had a relative as
00:06:05a dentist
00:06:05Anybody who had 100 quid
00:06:07Or 100 quid, well to this day I say, no one's ever given me 100 quid on my birthday, 100
00:06:12smackers
00:06:13That was, I mean, and then, obviously you can imagine, it was just like
00:06:16Only I'd have known last Saturday
00:06:17Yeah, me too
00:06:18Yeah, 100 smackers, next time, next time
00:06:21I may even have it
00:06:24But John got this 100 quid, so he said, oh, you know, what should we do, we were hanging out
00:06:30So we decided to go to Spain, spend this 100 quid
00:06:33We got as far as Paris, we hitchhiked, got as far as Paris
00:06:37And decided, no, we'll maybe go to Spain, maybe later in the week
00:06:42And we kept liking Paris
00:06:43Anyway, we bumped into Jürgen, who's our friend from Astrid and Jürgen and Klaus
00:06:49Bumped into Jürgen and said, your hair's nice, you know, could you do ours like that?
00:06:55So he said, are you sure you want this, you know, maybe, no, you know
00:06:59I said, yeah, go on, you know, we're on holiday, Paris, go on and all that
00:07:02And so he did it, then we arrived back in Liverpool
00:07:05With this sort of, me and John, with this sort of funny hair forward, like you were saying
00:07:09And everyone was a bit dubious about it
00:07:11But it just, just fell into the thing then
00:07:15And we sort of kept it forward
00:07:17Sounds good to me
00:07:18You pushed yours forward, Dringo always had a big grey shock under there, from when he was a kid
00:07:22Still there actually
00:07:23Well he had to have his push done to join the band then
00:07:26And he had to
00:07:27It's the only way I could join
00:07:28And it was like, what's his name?
00:07:29But it was cool, because when it came forward, you didn't see his grey bit
00:07:32He had a beard too
00:07:34Beard, beard's got to go
00:07:35Keep the sideburns
00:07:37And put your hair down
00:07:38You know, we want to see these faces
00:07:41Yeah
00:07:41We've got a look going here
00:07:43See your fucking face, man
00:07:43I looked about
00:07:44We don't have beards
00:07:46Like this actually, just before I joined you guys
00:07:49That's right, yeah
00:07:49Only with a suit
00:07:50We actually saw a London band in Hamburg
00:07:54And one of these London bands had this boot with a big point
00:07:57It had like a chisely pointy toe and a Cuban heel
00:08:01And we thought, hmm, they're good
00:08:03Where did you get those?
00:08:04And he said, it's in London
00:08:07It was called Anello and David's
00:08:10And we went to Anello and David's and bought those boots
00:08:12And then later we thought, hey, they make them
00:08:15We'll get our own made
00:08:16It was a ballet shop
00:08:18And so the one that became the beetle boot was like ones we had made
00:08:21But the original one, do you remember?
00:08:23It had that elastic down the side
00:08:24Yeah
00:08:25Yeah
00:08:27It was a ballet shop, wasn't it? Anello and David was ballet
00:08:30Made ballet stuff and tutus and shoes
00:08:32It's where all the little girls went
00:08:34So we'd be making our beetle boots made
00:08:39And there'd be little ladies with their children, you know
00:08:42No, you had the tutu
00:08:44I never had one of them
00:08:47I just had, well, it was Ringo and his feet bandage, wasn't it?
00:08:50Yeah
00:08:50You had to go into those little ballet shoes
00:09:01I was going to China
00:09:03So, because at first they were all the same
00:09:05Then we could have, like, when we made the films
00:09:08You'd have them in our size
00:09:08You'd have them in our size
00:09:09We'd go, ah, I've got a cord suit
00:09:11What boots would go?
00:09:12I'll get cord boots
00:09:14Just give them the same fabric and make them
00:09:16And then we had, like, ankle ones, calf ones, knee-high
00:09:21You know, all kinds of ones
00:09:23Then there was this one that went
00:09:26Oh, no
00:09:27Oh, no
00:09:33I've been linking, linking my life with you
00:09:37Thinking, linking my love so true
00:09:42Thinking, linking can only be done by two
00:09:52Yeah
00:09:53It was about one of the first ones
00:09:54It was about one of the first ones
00:09:56There was a commercial on the cinema
00:09:59For Link Furniture
00:10:01Called Thinking of Linking
00:10:02We went to pictures
00:10:07Good answer
00:10:08Good answer, yeah
00:10:12Well, I've been thinking of linking my love so true
00:10:18Thinking of linking my life with you
00:10:22Thinking of linking can only be done by two
00:10:30There's no second verse
00:10:34Yeah, thinking of linking
00:10:37Cost 75 quid, my first car
00:10:41Off Johnny Hutch
00:10:41That was a good car
00:10:42Was it off Johnny Hutch?
00:10:44Off Johnny Hutch
00:10:44Now, what colour was it?
00:10:45Red and white
00:10:45Hand painted
00:10:46Yeah
00:10:47Painted by hand
00:10:48And you had a green Anglia
00:10:51Blue
00:10:51Blue
00:10:52That was much later though
00:10:54Yeah
00:10:54I took you to get that car
00:10:56Did you?
00:10:57Yeah, I took you to...
00:10:58Warrington
00:10:58Yeah
00:11:00And as we were coming home
00:11:01You may not remember
00:11:02Oh yeah
00:11:02You were speeding and I was speeding
00:11:05And we were both close to each other
00:11:08And you overtook this car in front
00:11:10And I got right up to this car
00:11:12And I was ready to overtake him
00:11:13Just as I got right up his arse
00:11:15A dog ran out in front of him
00:11:17So he slammed on his brakes
00:11:18I smashed right into him
00:11:21Broke the fuck out of my car
00:11:23What was lucky
00:11:24It was by a garage
00:11:25Because I drove it
00:11:26While we pushed her into the garage
00:11:28Because I had no licence of insurance
00:11:30Did I stop or did I keep going?
00:11:32Oh you just kept going
00:11:32I didn't see where I
00:11:33You just didn't give a damn
00:11:34Even to this day
00:11:35I never knew about that
00:11:36Yeah
00:11:37Cool man
00:11:38Well couldn't we do Blue Moon in Kentucky?
00:11:40Well Blue Moon
00:11:43Oh
00:11:45Yeah man
00:11:46He's got the chorus
00:11:46What's the opening?
00:11:48You want your name?
00:11:48You want your name?
00:11:49You want your name?
00:11:49You want your name?
00:11:50Well
00:11:52Just a short version
00:11:53Blue Moon
00:11:56Blue Moon
00:11:57Keep shining bright
00:12:00Blue Moon
00:12:02Keep on shining bright
00:12:03My baby back tonight
00:12:05Blue Moon
00:12:06Keep shining bright
00:12:08Well I said Blue Moon
00:12:11Oh Kentucky
00:12:11Just keep on shining
00:12:14Shining on the one
00:12:15That's gonna let me blue
00:12:17Well Blue Moon
00:12:19Oh Kentucky
00:12:20Just keep on shining
00:12:23Shining on the one
00:12:24That's gonna let me blue
00:12:26When it was on that right night
00:12:29When the stars shined brown
00:12:31Wind blowing high
00:12:33My Lord said goodbye
00:12:35Blue Moon
00:12:37Rocky, Rocky, Rocky
00:12:38The sticky punch
00:12:40Shining on the one
00:12:41That's gonna let me blue
00:12:45Shining on the one
00:12:46That's gonna let me blue
00:12:49Shining on the one
00:12:50That's gonna let me blue
00:12:52Shining on the one
00:12:56So did you ever...
00:12:57What was the bad leg here?
00:12:58Did you ever meet Elvis again?
00:12:59Yeah
00:13:00I felt I'd met him several times
00:13:02You felt him?
00:13:02Yeah
00:13:03Well no wonder he didn't stand up
00:13:08How do you mean you felt him?
00:13:09We remember him well
00:13:10I have some memories that I met him several times
00:13:13But...
00:13:13Did you meet him?
00:13:14Maybe it was just the one night
00:13:15And I kept hoping into him
00:13:19It's called flashbacks I think
00:13:21Yeah
00:13:22Did you meet him again?
00:13:23No
00:13:23I met him just once
00:13:24You met him?
00:13:25I met him in Madison Square Garden
00:13:27When he was just
00:13:29I suppose
00:13:29A couple of years before the end
00:13:31It was...
00:13:32It's sad really
00:13:33Rhinestone cowboy
00:13:34Because he...
00:13:36It was like he had all them
00:13:38Skawking Girl singers
00:13:39And trumpet players
00:13:41And everybody
00:13:41All that stuff
00:13:42But he had a great rhythm section
00:13:43James Burton
00:13:45Sure
00:13:45And all that gang
00:13:47And I just wanted to say to him
00:13:49Just get your jeans on
00:13:51And get your guitar
00:13:52And just do that
00:13:53Bit of tape
00:13:53I went to see him in Vegas
00:13:55And bugger all that other crap
00:13:56In the 70s
00:13:57You know all this thing about
00:13:58How did he borrow it?
00:13:59After...
00:14:00After the...
00:14:02Oh you saw him in Vegas?
00:14:04Yeah
00:14:07I only met him that once
00:14:09That night
00:14:10He was...
00:14:11When I saw him
00:14:12I was like a hippie
00:14:13And I had all this denim on
00:14:15And I had long hair
00:14:16And stuff down to here
00:14:18It was in the early 70s
00:14:19And I went backstage
00:14:22To meet him
00:14:23And you know
00:14:23Those big dressing rooms
00:14:26Like you know
00:14:27Miles of toilets and stuff
00:14:29And so I was sitting there
00:14:30Talking to the guys again
00:14:32And he was nowhere to be seen
00:14:33And then finally
00:14:34He came round the corner
00:14:35And he had that big
00:14:36White outfit
00:14:37With all the gold things
00:14:38And a big belt buckle
00:14:39Like this
00:14:40And he looked like Ringo
00:14:41He was all...
00:14:42His beard was...
00:14:43It was varnished
00:14:47No he...
00:14:48You know all his hair was black
00:14:49And he was all tanned
00:14:51And stuff
00:14:51And he seemed like
00:14:52I thought I was meeting Vishnu
00:14:54Or you know
00:14:56Krishna or somebody
00:14:57It was just like
00:14:58Wow
00:14:59And I just felt like
00:15:00This little
00:15:00Snotty grubby little
00:15:02You know Elvis
00:15:03How are you?
00:15:04You know
00:15:04And he was like
00:15:05Hey
00:15:06Just
00:15:07It's all this big
00:15:09White thing
00:15:10And I just wanted to say
00:15:12Oh why don't you just
00:15:13Just go and do
00:15:14That's alright
00:15:15Mama
00:15:15And you know
00:15:17Baby X Playhouse
00:15:18And forget all them
00:15:18Chick singers
00:15:19Oh
00:15:21I did it my way
00:15:23It was sad
00:15:24But he did a couple of good tunes
00:15:25Yeah
00:15:26But did you ever meet him again?
00:15:28Not after that day
00:15:30But he was great
00:15:32But he was great
00:15:32When he was great
00:15:33Ain't she sweet?
00:15:35Ooh
00:15:36Ooh
00:15:37Ooh
00:15:37I ask you very confidently
00:15:41Ain't she sweet?
00:15:43Cast an eye
00:15:45In her direction
00:15:47On me or mine
00:15:50Ain't that perfection?
00:15:53For the odoh
00:15:55I repeat
00:15:57Don't you think
00:15:58She's kind of sweet, neat?
00:16:00I'll ask you very confidently
00:16:03Ain't she sweet?
00:16:06Ain't she sweet?
00:16:08Ain't she sweet?
00:16:09Ain't she sweet?
00:16:13Ain't
00:16:13Sweet
00:16:14Let's go
00:16:16Mm
00:16:16Well this has really been a
00:16:18a really nice day for you chap
00:16:19It's been a pleasure for me too
00:16:21I've gotta leave now
00:16:21Good
00:16:22We're going to have to see you for the next 40 years
00:16:24Yeah
00:16:25Well that should end the series
00:16:27We could end on this note then
00:16:29I think it was Candlestick Park
00:16:32No it wasn't
00:16:33This is Candlestick Park
00:16:35This is Candlestick Park
00:16:37Now it's been a very nice day
00:16:38Thanks for having us George
00:16:39Thank you
00:16:40It's been really beautiful and moving
00:16:43I like hanging out with you two guys
00:16:47Little chuchy face
00:17:02I know it was an old song isn't it?
00:17:06It's an old
00:17:06When did you write it?
00:17:08Well I mean it's not my lyrics
00:17:10It's an old
00:17:10It's like
00:17:11It's ancient
00:17:13It's sort of
00:17:14Yeah it's like an old
00:17:15Lullaby
00:17:16Arthur Askey wrote
00:17:17The trad arranged
00:17:21Trad arranged
00:17:21With tune
00:17:23I put the tune to it
00:17:24It's my tune
00:17:26But it was at my dad's house
00:17:28He put the traditional drums on it
00:17:30I was at my dad's house
00:17:31And there was one of those sheet music things
00:17:33That was up to learn piano
00:17:34And I just liked the lyrics and stuff
00:17:36So I started
00:17:37I couldn't read the music
00:17:38So I started doing my tune to it
00:17:40Which album was this?
00:17:42This was on Abbey Road
00:17:47Abbey Road
00:17:48You're George
00:17:49Foremost Beatle expert
00:17:51George Hanson
00:17:52To get back homeward
00:17:56Bass and piano so far
00:18:01Once there was a way
00:18:03Oh yeah
00:18:05To get back homeward
00:18:08Sleep pretty darling
00:18:11Do not cry
00:18:12That's not a piece
00:18:14And I will sing
00:18:16A lot of wine
00:18:20Carry that way
00:18:22Those are two kind of ways
00:18:30Smiles awake
00:18:32When you rise
00:18:36Sleep pretty darling
00:18:39Do not cry
00:18:43And I will sing
00:18:45A lot of wine
00:18:47Bye
00:18:48Bye
00:18:48Once there was a way
00:18:52To get back homeward
00:18:55I don't think you are on it
00:18:57But it doesn't sound like you are
00:18:58Who was playing bass?
00:18:58Do not sound like anybody's on it
00:19:00Wasn't you?
00:19:01Unless it was overdubbed
00:19:03Why would you overdubbed on it?
00:19:05To get back homeward
00:19:07Because he was playing the piano
00:19:08Sleep pretty darling
00:19:11Do not cry
00:19:11I think I would play the piano
00:19:13So who was playing bass?
00:19:14He is
00:19:15I think I'll overdubbed it
00:19:16You can't play at the same time
00:19:17Oh he overdubbed it
00:19:18Couldn't you overdubbed it?
00:19:19You can hear the sound of it
00:19:20It's like directing Jake
00:19:21You're gonna carry that way
00:19:25You give him many takes
00:19:26Take 17
00:19:28He was keen
00:19:29He's in the moment I've bassed on it
00:19:36Maybe I play bass
00:19:37I play bass on some
00:19:39With that six string Fender
00:19:41It sounds like it
00:19:41It was definitely Paul playing piano
00:19:43So it couldn't have been
00:19:44Well you should be able to tell
00:19:46Shall we
00:19:49Hold it in a moment
00:19:50We should have done it
00:19:51There are lots of
00:19:52There are lots of
00:19:53Four starts and breakdowns
00:19:54That was take one
00:19:55So
00:19:55Are you saying the bass
00:19:57It wouldn't have been overdubbed
00:19:59Because it's on every take
00:20:00It was live
00:20:01Okay well then
00:20:02It must have been me or John
00:20:03Playing it
00:20:04Obviously
00:20:05You can't remember
00:20:06Could have been Ring
00:20:07Well look
00:20:07We did have
00:20:08We had a six string bass
00:20:11A right handed bass
00:20:13Yeah
00:20:14So that
00:20:15For these kind of
00:20:16Conditioners
00:20:17One of the great things
00:20:18About this studio
00:20:18And the way EMI was set up
00:20:20Because they were set up
00:20:21For Mrs Mills
00:20:21Or Daniel Barenboim
00:20:23Or Russ Conway
00:20:24Or Peter Sellers
00:20:26So they always had
00:20:27These millions of instruments
00:20:28Like they've still got now
00:20:29Grand pianos
00:20:30Odd little pianos
00:20:32All the ones they use
00:20:33And got like yours
00:20:34And I've
00:20:34Well they've ended up
00:20:35At my studio now
00:20:36Because they're all
00:20:37Trying to get rid of them
00:20:38Here
00:20:38And you know
00:20:39Neil and Mel
00:20:40Would be over here
00:20:41Behind these
00:20:42I thought it was over here
00:20:43See this is where
00:20:44Everybody disagrees
00:20:45Well they moved them
00:20:46Around so much
00:20:47But we mainly
00:20:47Were over there
00:20:48Yes
00:20:48And my bit on
00:20:52Up the cable
00:20:53Up the cable
00:20:54Was through that door
00:20:56I think
00:20:56He's talking about
00:20:57Yellow submarine
00:20:58I think
00:20:59True
00:20:59I thought it was
00:21:00Natural echo
00:21:01Just in that door there
00:21:03Yep
00:21:04At that time
00:21:05There was a little board
00:21:06The desk
00:21:08At the console
00:21:09Was just about this big
00:21:11With four faders on it
00:21:12And there was one speaker
00:21:14Right in the middle
00:21:17And for a mix
00:21:18It'd be funny
00:21:19Because everybody
00:21:20Would get on
00:21:21A fader each
00:21:22And have full bass
00:21:23And full treble
00:21:24And one speaker
00:21:26And that was it
00:21:26When they invented
00:21:28Stereo
00:21:29I remember thinking
00:21:30Why
00:21:30What do you want
00:21:31Two speakers for
00:21:32Because it ruined
00:21:33The sound
00:21:34From our point of view
00:21:35You know
00:21:36We had everything
00:21:37Coming out of one speaker
00:21:38Now we had to come out
00:21:39Of two speakers
00:21:40It all sounded
00:21:41Like
00:21:41Spread out
00:21:42Very naked
00:21:43But then finally
00:21:44Someone said
00:21:45Well you can move things
00:21:46Yeah
00:21:46So like everything
00:21:47From then on
00:21:48Got panned
00:21:49Like magic
00:21:49Yeah
00:21:50And everything got moved
00:21:50But you know
00:21:51To get to the point
00:21:52Where you do a stereo mix
00:21:53And put the drums
00:21:54And bass in the middle
00:21:56You know
00:21:56For a long time
00:21:57Used to be over
00:21:58On the side
00:21:59Because we always
00:21:59Used to do that
00:22:00Sticking on
00:22:00I remember being
00:22:01At a party
00:22:01At Brian's house
00:22:03And talking to someone
00:22:04And saying
00:22:04Oh this great bit
00:22:05This on the drums
00:22:06Listen to this
00:22:06And it wasn't on
00:22:07That speaker
00:22:08So hang on
00:22:09Put it on again
00:22:10And we had to go
00:22:10Over to the other speaker
00:22:11To hear the drums
00:22:12You know
00:22:13It's here
00:22:13Good
00:22:13It's great
00:22:15There's like
00:22:16No drums
00:22:16In that space
00:22:17John got a spool of tape
00:22:18Of the rough mix
00:22:19Of the backing track
00:22:20To
00:22:21I think it was
00:22:22I'm only sleeping
00:22:24And
00:22:24You know
00:22:25By the time
00:22:26He got home
00:22:27He didn't realise
00:22:28Because the tape
00:22:29Was tails out
00:22:32And they just
00:22:33Stuck it on a reel
00:22:33And he put it
00:22:34On his tape machine
00:22:35And threaded the tail
00:22:36In forward
00:22:38And got it backwards
00:22:39That's when he came
00:22:40In the next day
00:22:41And said
00:22:41Oh yeah
00:22:42Backwards
00:22:43And then we made him
00:22:44Turn the tape over
00:22:46And play it backwards
00:22:46And we all played
00:22:47I think John and I
00:22:48Or Paul and I
00:22:49Played guitars
00:22:50Just like
00:22:52Random notes
00:22:53On the guitars
00:22:54And then we turned
00:22:55The tape back over
00:22:56To see what we had
00:22:57And that was like
00:22:58The first time
00:22:59We had a backwards solo
00:23:24You know it became
00:23:27Easier to do experiments
00:23:29Because we'd had a few hits
00:23:30You know that was the key
00:23:32The key was that we'd had success
00:23:35And then it was
00:23:36Oh great
00:23:36Come in lads
00:23:37Nice to see you back again
00:23:39And as we got more and more success
00:23:41We were more and more able to
00:23:43You know try some far out ideas
00:23:46And
00:23:47It also gave us more time
00:23:49And also then you'd have success
00:23:50With something that might have seemed
00:23:52Like a far out idea
00:23:53And that had
00:23:54You know people would say
00:23:55Wow this is great
00:23:56And so when we'd come back again
00:23:58And George would be
00:23:59You know
00:24:00Really quite keen to try
00:24:02But what other ideas have you got
00:24:04You know
00:24:04So
00:24:05It just became
00:24:06You know like a free house
00:24:08For you know
00:24:09Whatever idea you wanted
00:24:11We'd try it
00:24:12Alan
00:24:13Can we have a
00:24:15Tomorrow never knows please
00:24:16Which take
00:24:18All of them
00:24:19All of them
00:24:19First take
00:24:20The first take
00:24:21Is really weird
00:24:22Oh well
00:24:23Play the rear take
00:24:24Listen to this
00:24:25It's like the drums
00:24:26And a guitar
00:24:28That's kind of
00:24:29Half speed
00:24:32Let's hear it right now
00:24:33There's only two
00:24:34There's only two basic track
00:24:35Takes
00:24:38Which is one
00:24:40And three
00:24:50We should speed that up
00:24:52And see what it was
00:24:53And listen to the drum part
00:24:55That would be great
00:24:58That would be different
00:25:01And if you're listening
00:25:02And me and my
00:25:03And me and my
00:25:04And me and my
00:25:06And me and my
00:25:08And me and my
00:25:08Your back
00:25:08There you have
00:25:10Check
00:25:10I think
00:25:12I'm having
00:25:12On this one
00:25:13I think
00:25:13I think
00:25:15It's a
00:25:16Love
00:25:16A
00:25:17guitar
00:25:18So
00:25:18You can
00:25:19tune
00:25:19I
00:25:20Know
00:25:22You
00:25:23You
00:25:24You
00:25:28You
00:25:28You
00:25:29So is that just on its own?
00:25:31That's its voice.
00:25:35That's good.
00:25:36With a bit of drums.
00:25:38And a bit of loops.
00:25:39Nothing on there?
00:25:41We haven't put the loops on this tape.
00:25:45This was just the first time I saw.
00:25:49He wanted his voice to sound like the Dalai Lama
00:25:53chanting from a hilltop.
00:25:55And I said, well, it's a bit expensive going to Tibet
00:25:58and can we make do with it here?
00:26:00And I spoke to Jeff Rimerick and he had a good idea.
00:26:04He said, let's try putting his voice through a Leslie speaker
00:26:07and back again and re-recording it.
00:26:09And I don't think anyone had done that before.
00:26:11And that's the way we got his special effect on his voice there.
00:26:14And the other thing on that weird track was the tamboura drone
00:26:17and Ringo's very characteristic drumming.
00:26:22See, it's like doing a rumbo.
00:26:24Dum-dum-dum-dum-dum-dum-dum-dum-dum-dum-dum-dum.
00:26:29It's great. I like it.
00:26:33How is he doing that?
00:26:35What's that underwater sound?
00:26:36How is that drummer doing that, George?
00:26:38Oh, he had to be very brilliant, right?
00:26:39It's just brilliant.
00:26:43There's no tamboura.
00:26:46What's that with the drums?
00:26:49Sounds like some kind of resin.
00:26:59Well, that's the one for me.
00:27:01You then change it off.
00:27:02Yeah.
00:27:03So that was the first take?
00:27:05That was the first take.
00:27:06John just had the song.
00:27:08Well, the song, I think, was very much influenced by, you know, in those days, the Indian music had come
00:27:14in to our lives.
00:27:16And the way Indian music just was all on one, in one key.
00:27:21It didn't modulate.
00:27:22His idea.
00:27:22But, you know, he wanted to try a tune like that that didn't change chords.
00:27:29And also because of some of the other influences, he had that Timothy Leary book, which was supposedly, I think
00:27:40it was called A Psychedelic Experience.
00:27:42And he had some stuff that related to the Tibetan Book of the Dead, and he wrote those words.
00:27:48And did he, that was all kind of monotone kind of thing.
00:27:53All that lay down your mind, it is not.
00:27:55And also, you know, Paul and, you know, I mean, there was different things going on, different influences at the
00:28:02time.
00:28:02One of them being avant-garde, you know, stockhears, and so, I mean, it was very much experimental thing and
00:28:10all that.
00:28:11There was a number of experimental things that all came together on the one song.
00:28:18Oh, that was the break, though.
00:28:19Ah, now we're talking.
00:28:21Now we're talking serious music now.
00:28:25What did you say?
00:28:25Well, now tamboolies in.
00:28:28Woo-hoo-hoo-hoo.
00:28:28Turn off your mind, relax, and fall.
00:28:32So what have we got there?
00:28:33Well, this is the real one now.
00:28:35You've got all your rhythm on one.
00:28:36Yeah.
00:28:38You've got the voice on three.
00:28:39It is not dying.
00:28:40With the tamboolies.
00:28:43And on fax turn three, you've got your various tape loops and your guitar and tamboolies.
00:28:51It is shining.
00:28:54It is shining.
00:28:59And on that one, I brought in a bunch of tape loops.
00:29:02And a little plastic bag that I'd done at home.
00:29:05And I just made a lot of little loops that I liked, you know, and brought them all in.
00:29:09Literally little pieces of loop tape.
00:29:12A little plastic bag.
00:29:13And we got them all on about eight or so machines.
00:29:17With everyone holding a loop and a pencil or a bit of a glass and stuff.
00:29:20And got them running around on the machines.
00:29:22And then fed them all into the desk.
00:29:23And made a little mix that you heard before.
00:29:27All those seagull noises and stuff.
00:29:28It's all sped up tapes and loops.
00:29:31So that was another little ingredient in that.
00:29:34That wasn't used, was it?
00:29:37Yeah.
00:29:39At that point.
00:29:44Bring Phil Collins in.
00:29:57What did we actually do?
00:29:59That one's really good.
00:30:00Good.
00:30:05Good.
00:30:07I suppose you remember what that loop was made about.
00:30:12It's hard.
00:30:14When we made those redboards, we could never reproduce it again.
00:30:18It'd be impossible to reproduce again.
00:30:20Because the way we made it was the actual mix.
00:30:23And all over this building, in different rooms, were tapes.
00:30:27Tape machines with loops on them.
00:30:29And people holding the loops at the right distance from them with a bit of pencil.
00:30:34Going all the time.
00:30:36Being fed to different faders on our control panel.
00:30:39Which we could bring up the sound like an organ at any time.
00:30:41So the mix we did then was a random thing at that time.
00:30:45Could never be done again.
00:30:46Tape machines and that organ.
00:30:48It's a fabulous day.
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00:36:27y le llevó a él en el truco.
00:36:30Cuando se empezó a tomar forma,
00:36:31y John estaba en ahí y cantando y cantando,
00:36:35creo que todos de ese momento me dijeron,
00:36:37¡Wow, esto realmente funciona!
00:36:38Y yo estaba muy contento,
00:36:40porque yo había pasado un tiempo,
00:36:42después de haber hecho la batalla,
00:36:43haciendo que la vocalidad se encaja exactamente.
00:36:46¡Ah, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí, sí,
00:36:55sí, sí.
00:36:57Disservice, or whatever.
00:36:59It's actually making it into a really good record.
00:37:23I listened to it,
00:37:25and I thought,
00:37:26it sounds just like them.
00:37:29You know,
00:37:30I'd taken myself away from it for so long
00:37:32that it was like listening to it from like an outsider,
00:37:35and it sounds just like them.
00:37:37It's brilliant.
00:37:38When George and I were doing the harmonies,
00:37:40and that was what Ringo said
00:37:41when we got back in the patrol,
00:37:42it just sounds just like the Beatles, you know.
00:37:44It wasn't surprising to me, really,
00:37:46because, I mean,
00:37:46that's what I went there for,
00:37:47was to work with the Beatles,
00:37:48so I always, like, assumed,
00:37:51in my naivety, whatever,
00:37:53that it was going to sound like a Beatles record,
00:37:55because I'm doing,
00:37:56working with the Beatles.
00:37:57It's got to sound like them,
00:37:58if it is them.
00:38:00It's, it sounds like them now.
00:38:02That's what I think.
00:38:29The first choice was Free As A Bird,
00:38:32and we did that in February 94,
00:38:35and then kind of really didn't do much
00:38:39except put together the anthology,
00:38:41did it not recording-wise,
00:38:42until February 95,
00:38:46where we went back to my studio with real love.
00:38:49All my little bells and schemes
00:38:54Lost like some forgotten dreams
00:38:59Seems that all I really was doing
00:39:03Was waiting for you
00:39:10Well, real love's poppy.
00:39:12It's more of a poppy song.
00:39:15It was, it was more difficult, actually,
00:39:19because we'd already done it.
00:39:21So now we're doing it again,
00:39:23so, you know,
00:39:24for me, I felt it was more difficult
00:39:26to turn it into a real Beatle track.
00:39:55The thing for me
00:39:56that was not quite as much fun
00:39:58in the recording of real love
00:40:00was it was finished.
00:40:01It had all the words and the music,
00:40:04so I didn't really get to input,
00:40:06which, like, we, the other three of us
00:40:09had been able to input on Free As A Bird,
00:40:11so it made it more like a Beatle session.
00:40:12This was, like, more like
00:40:14we were sidemen to John,
00:40:15which was, you know, joyful,
00:40:17and it was good fun,
00:40:18and I think we did a good job.
00:40:20On this moment, on now I know
00:40:41and I was like this,
00:40:43I wasn't even a fly on the wall,
00:40:44I was a fly in the middle of the room,
00:40:45you know, at the desk of,
00:40:46oh, it's great, this is,
00:40:48and it was the most,
00:40:49I mean, it's beyond the wildest dreams
00:40:50to have actually sat
00:40:52with the three of them.
00:40:53Very few people have, I think,
00:40:55and to be making the records with them,
00:40:57it was just astonishing.
00:41:15It brought back a lot of good memories,
00:41:17and it also gave me a chance
00:41:18to hang out with Paul and George again,
00:41:21and we haven't done that in a while.
00:41:23We work well together,
00:41:24that's the truth of it, you know,
00:41:26we just work well together,
00:41:27and that's a very special thing.
00:41:29When you find someone you can talk to,
00:41:32it's a special thing.
00:41:33You find someone you can play music with,
00:41:35it's really, it's something.
00:41:37I think we just, you know,
00:41:39we've had so much the same background,
00:41:42you know, our musical background
00:41:45and where we came from
00:41:46and what we listened to,
00:41:48you know, in common,
00:41:49and then all those years we played together,
00:41:52you know, somehow it's made
00:41:54a very deep groove in our memories,
00:41:58and it doesn't take much to lock in.
00:42:02It's real, it's real, it's real love,
00:42:48I think it was, yeah, the early 70s, 71, 70, 71.
00:42:54I collected all the footage that I could find from around the world
00:43:00and we put a documentary together or a film together
00:43:04that was, without the Beatles being interviewed or anything like that,
00:43:09it was just, put all the film together.
00:43:11It was about an hour and three quarters long, right?
00:43:14And then I put it on the shelf for 20 years.
00:43:18And it was an extremely interesting story.
00:43:20But, of course, it was then done as a...
00:43:25Well, it was very, very close to the breakup,
00:43:26so it wasn't done with that long perspective.
00:43:28It was on the shelf, right?
00:43:30I knew it was there, but I didn't really, really think about it.
00:43:34It was a question of getting, like, a lot of other, you know,
00:43:38business things together, so...
00:43:41And getting control, if we could,
00:43:43of various elements of Beatle business, if you like.
00:43:50And when we were in that position, it was easier to do, you know,
00:43:59it was really easier to do than not.
00:44:03I really thought the anthology would happen when Neil said,
00:44:07it's going to be, there's going to be an anthology,
00:44:09we're going to do the whole story.
00:44:11And the fellas have agreed, and then I knew it would be on.
00:44:15And I was very interested in a detached sort of way.
00:44:19You know, I think maybe I mentioned it to everybody
00:44:22in sort of like 1990 or 91 or something like that, you know.
00:44:29And then we started doing it, you know.
00:44:31I got the production team together,
00:44:34the production office together, and, you know,
00:44:37we started doing it.
00:44:39Well, I'd worked with the three of them before,
00:44:42but I was doing a direct in McCartney's Oratorio for Liverpool,
00:44:47and he phoned me up and said that he'd had a chat
00:44:51with a mate of mine.
00:44:53And I thought, my God, who can that be?
00:44:54And I said, well, who do you mean?
00:44:56He said, George Harrison.
00:44:58I said, oh, yeah.
00:44:59He said, I didn't know you'd work with George.
00:45:01So I said, well, yeah.
00:45:02He said, well, there again, he didn't know you'd work with me.
00:45:04I was on my way to the Montreux Jazz Festival.
00:45:09I'd arranged to go and work on that.
00:45:12And Jeff rang me out of the blue and told me about it
00:45:14because he initially got in touch.
00:45:18And he said, well, you've got to make your mind up.
00:45:20Are you coming or not?
00:45:23So the rest is history.
00:45:25Jeff and I arrived down here to an empty, empty rooms.
00:45:28I was working at EMI, PMI,
00:45:34making television programs.
00:45:35Jeff was a director who'd worked there.
00:45:37We'd both worked with Paul on the oratorio
00:45:40and different things.
00:45:42And he'd been asked to do this
00:45:44and was doing it.
00:45:47And nobody had asked me.
00:45:48And I said to him, why haven't you asked me?
00:45:51I'd love to do this.
00:45:52And he said, well, I didn't even think
00:45:54that you'd want to do it
00:45:56because you have a proper job,
00:45:58full-time job.
00:45:59And Jeff seemed very happy.
00:46:05Spoke to Neil Aspinall.
00:46:08Spoke to Paul and went and talked to Neil
00:46:12and got the job.
00:46:13Well, actually, I was on holiday
00:46:15when the rest of the guys started.
00:46:17And I thought, bad timing.
00:46:18I expected to sort of come back
00:46:20and find out that they decided
00:46:23that I was surplus to requirements
00:46:24and didn't need me anymore.
00:46:25So when I got up on holiday,
00:46:26I phoned up Apple and I said,
00:46:27I'm Bob Smeet and I'm going to be working on this job.
00:46:30He said, yeah, come down whenever you're ready.
00:46:32And we came in and said,
00:46:35now we're going to make a program,
00:46:36which we hadn't really thought about too much.
00:46:39It's the same track again.
00:46:40Yeah, it's the same track again for the third time.
00:46:42What, a lot more music?
00:46:43Yeah.
00:46:43No, because that was meant to be one section.
00:46:46As well as the work that's been done
00:46:48by the guys upstairs,
00:46:49there's obviously been a phenomenal amount
00:46:50of work done by a very small team.
00:46:53I mean, basically,
00:46:54the whole production of this
00:46:55has been done by 10 people,
00:46:58including research and everything.
00:47:01I think we've used somewhere
00:47:03between 9,000 and 10,000 different pieces
00:47:06of footage and music,
00:47:08and all that's had to be cleared,
00:47:09all that's had to be logged.
00:47:10It's been a phenomenal job done by people here.
00:47:13I'm as kind of useful to have around
00:47:16if the Beatles are being discussed
00:47:18in a variety of ways.
00:47:20I mean, there are ways in which I'm no use at all.
00:47:23I'm no use on some minutiae and detail.
00:47:26I'm not good on things like clearances
00:47:29and all the mechanics of making a documentary.
00:47:32But on perspectives and some insights,
00:47:36I can be handy to turn to.
00:47:39And I'm extremely generous with my time.
00:47:42And I get along with them and with Neil.
00:47:47I realised that the one thing that we had
00:47:51that nobody else had,
00:47:52no third party had, right,
00:47:57was the surviving Beatles,
00:48:00the three of them and all John's interviews
00:48:03with Yoko's consent, right?
00:48:05And so once I started putting it together,
00:48:08what I decided right from the very beginning, right,
00:48:11not just now but 20 years ago
00:48:14when I did the original one,
00:48:15was not have some, like,
00:48:17mid-Atlantic voice commentator, right,
00:48:23telling the Beatles story, right?
00:48:25It was better for them to tell their own story.
00:48:27For them to tell their own story,
00:48:29they had to be interviewed.
00:48:31So basically it was three months of looking at stuff
00:48:33and listening to stuff before we put anything together.
00:48:37And then, of course,
00:48:37they're not the easiest people to get a hold of.
00:48:41So I think that was another about three months
00:48:44trying to get a hold of them to do an interview, really.
00:48:46The interviewer, that was the other thing,
00:48:48to get an interviewer that wasn't an in-depth interviewer,
00:48:52you know, a David Frost-type interviewer,
00:48:54you know, that would go into
00:48:55and put everybody on their guard about,
00:48:57you know, what you're going to say.
00:48:59But really to use another musician,
00:49:02that's how Jules Holland became involved.
00:49:04I think that my real job was to interview them
00:49:08and to ask them about their history,
00:49:11starting at the beginning from when they were small,
00:49:13going right up to the end of it.
00:49:14And some of it was quite hard to talk about the later parts,
00:49:20you know, there was unhappy moments,
00:49:21laughter and tears, of course.
00:49:23And I think because I'm a pianist and a musician
00:49:28more than a sort of a hard-nosed interviewer,
00:49:30I think because of that they found it easier to relax.
00:49:33And so Jules tended to ask, like,
00:49:38questions that, like, say,
00:49:41a trained interviewer or whatever wouldn't ask,
00:49:44you know, and with the Elvis episode,
00:49:47he asked if Priscilla was there,
00:49:49which is fine,
00:49:50but I don't think a regular, you know,
00:49:53interviewer would have asked,
00:49:54what was she wearing?
00:49:56You know, it's not sort of like an in-depth question,
00:49:59is it?
00:50:00Remember how Priscilla was dressed?
00:50:01I think she had a long thing on and a tiara.
00:50:06I've got this picture of a, like,
00:50:07as a sort of Barbie doll
00:50:08with, like, gingham,
00:50:10kind of purple gingham,
00:50:11and a bow, a gingham bow
00:50:12and a very beehive hair.
00:50:15Do you remember, uh,
00:50:16seeing, uh, Mrs. Presley?
00:50:18No, I don't.
00:50:20Well, could be.
00:50:21I don't remember.
00:50:22I spent most of the party
00:50:23trying to suss out from his gang
00:50:25if anybody had any refund.
00:50:27What it would be was
00:50:29we'd want to know
00:50:30what each programme was going to be, right?
00:50:32So I would, like,
00:50:33write the main areas.
00:50:35Say, right, we've got to hit this base,
00:50:37this base, this base, etc.
00:50:39And then once we knew
00:50:41what we wanted to get in there
00:50:42was a case of making sure
00:50:44that we got the information
00:50:45from the Beatles
00:50:46in order to make the programmes.
00:50:48By the time they got to the third interview,
00:50:51in a sense, for me, it's noticeable
00:50:53because you'll find that
00:50:55if you ask one of them a question,
00:50:58whichever one it is,
00:50:58if they don't know the answer,
00:51:00they'll say,
00:51:01oh, well, maybe Paul knows the answer
00:51:02or maybe Ringo knows the answer
00:51:03or maybe George knows the answer.
00:51:05So then you can cut to the other individual
00:51:07who doesn't know the answer anyway, right?
00:51:09And so he'll say,
00:51:10maybe somebody else knows the answer.
00:51:12And that came from watching
00:51:14what they'd done
00:51:15in their first interviews, right?
00:51:17And seeing if you don't know the answer,
00:51:19pass it over to the next guy.
00:51:20And then you've got
00:51:20quite a nice little cut and stuff, you know?
00:51:23So they gradually got into it
00:51:25as a, like, making this thing, you know?
00:51:28We were aware all the time
00:51:29that, you know,
00:51:30John wasn't with us
00:51:31to go to him
00:51:32and get a quote from him.
00:51:33But the research has done
00:51:34such a thorough job
00:51:36that there was, like,
00:51:37sometimes you'd need a quote from John
00:51:39and you'd have the option
00:51:40of six or seven quotes.
00:51:41And because he was so succinct
00:51:43in everything that he said,
00:51:45and John in all these interviews
00:51:46talks so well,
00:51:47and if you ask him a question,
00:51:49he gives you the answer.
00:51:49We looked through
00:51:50hours and hours of footage
00:51:52of everything that we have on John
00:51:55and just really sort of used...
00:51:57He's represented mainly
00:51:59in sort of slow motion shots
00:52:00because obviously he can't be
00:52:02talking or saying the thing.
00:52:04Wherever he's appeared
00:52:06in archives saying anything
00:52:07we've tried to use.
00:52:09We've used all that stuff, you know,
00:52:11and tried to give them all
00:52:14equal billing.
00:52:16They've all seen it.
00:52:17They've all had an approval process
00:52:21so they all agree with what's in it
00:52:24and whatever.
00:52:25If there's something
00:52:26that somebody particularly, you know,
00:52:29wants to change
00:52:30or doesn't like about themselves,
00:52:32right, then we would change it.
00:52:33They left us alone, basically,
00:52:35for certainly for three years
00:52:37in the main.
00:52:38There weren't major things to change.
00:52:40There's a poor note
00:52:42for programme one changes.
00:52:43There's not very many,
00:52:44as you can see.
00:52:45You're doing a good job here.
00:52:47Suck the crew.
00:52:49That's one person.
00:52:51They came in occasionally.
00:52:52They came in,
00:52:54the three of them together,
00:52:55which was fantastic,
00:52:58you know, to have them in here
00:52:59to look at various parts of it.
00:53:01But no, they have been,
00:53:05in many ways,
00:53:06a joy to work with.
00:53:08And they're still the Beatles,
00:53:10but I've had more problems
00:53:14on a new band making a five grand
00:53:16top video.
00:53:17They've all been, I think,
00:53:18completely honest
00:53:19and quite,
00:53:21and very frank,
00:53:22to the point where
00:53:23some of the things they say
00:53:24aren't,
00:53:25they don't,
00:53:26you know,
00:53:26if you were doing a safe interview
00:53:29about yourself,
00:53:30because after all,
00:53:31they're making the film,
00:53:32that you might not say.
00:53:34But I think that they feel
00:53:35that the story should be told
00:53:37pretty much as it is.
00:53:39And the truth should be known
00:53:41as much as it can be,
00:53:43even if some of it is a bit
00:53:43sort of painful.
00:53:44So they talk.
00:53:46And I think that's what,
00:53:47I was pleased that it wasn't
00:53:50just a sort of a showbiz cover-up
00:53:53or something like that.
00:53:53The position that was taken by Apple
00:53:55and certainly by us
00:53:56during the making of it
00:53:59has been,
00:54:00this may never be released.
00:54:02We don't know.
00:54:03That's why we can't talk about it.
00:54:05So for a while,
00:54:06there was very much a sense of that.
00:54:07I can't think of any particular moment
00:54:09where you really felt
00:54:10it's never going to be released.
00:54:12It never got that heavy
00:54:13or that unpleasant.
00:54:15But you always,
00:54:18I mean,
00:54:19got the sense
00:54:20from the phone calls
00:54:22you were getting,
00:54:23the broadcasters
00:54:24that were phoning up,
00:54:26people asking questions about it.
00:54:29You got some sort of sense
00:54:31of what it was going to be like
00:54:32when it was finished.
00:54:33Now you've got to start
00:54:34making decisions
00:54:35about what to leave out,
00:54:36what to leave in.
00:54:37You've also got a deadline.
00:54:39It's got to be finished
00:54:40by this time.
00:54:42Getting,
00:54:43you know,
00:54:44the music together
00:54:45for a film,
00:54:46getting the rights together,
00:54:47getting the,
00:54:48you know,
00:54:48whatever those rights are,
00:54:50master use licenses,
00:54:52publishing licenses,
00:54:53you know,
00:54:54permissions
00:54:54for somebody's name
00:54:56and likeness
00:54:57that you've used in there.
00:54:58If they won't give it to you,
00:55:00for example,
00:55:00or you can't get
00:55:01a particular song,
00:55:02then you've got to change
00:55:03that bit
00:55:04of the thing.
00:55:06So it's the finishing process
00:55:08that under pressure
00:55:09because you've got a deadline,
00:55:11that for me
00:55:12is always like the,
00:55:16what's the word for it?
00:55:18It's the most traumatic time,
00:55:20if you like,
00:55:21you know.
00:55:22Now what is interesting
00:55:23about this anthology now
00:55:25is that they've had a long time
00:55:26to think about it,
00:55:28to get used to not minding
00:55:30being Beatles,
00:55:32that they had been Beatles.
00:55:33It's no longer
00:55:34an embarrassment to them
00:55:35and it's time to,
00:55:37as the cliche goes,
00:55:39reclaim their own history.
00:55:51Rolling.
00:55:52Okay.
00:55:53Action.
00:55:55Originally,
00:55:56we were going to have
00:55:56a bird in the piece
00:55:58and you just follow the bird
00:55:59as it flies through history.
00:56:01It's like a magic bird
00:56:02that flies through.
00:56:02Not magic in the sense
00:56:03that it glows
00:56:04or anything like that.
00:56:04It's just the bird
00:56:05that takes you through
00:56:05the history of the songs,
00:56:08where they came from,
00:56:09visiting the places
00:56:10that inspired the pieces.
00:56:11The bird flies
00:56:14through the Beatles' lyrics.
00:56:15You know,
00:56:16it flies through Penny Lane
00:56:17and Helter Skelter.
00:56:21And then Neil said
00:56:22not to use a bird
00:56:23because at a previous time
00:56:25they had talked about that
00:56:26and no one could agree
00:56:27on what kind of bird
00:56:28it should be.
00:56:28You never see the bird.
00:56:29The camera is the bird.
00:56:33The sound of the wings,
00:56:34we did that so that
00:56:35the rest of the piece
00:56:36would make sense.
00:56:38That's why you have
00:56:39the loud flapping
00:56:39and everything
00:56:40at the beginning
00:56:40so that later on
00:56:41you know what it is
00:56:43that's taking you
00:56:43through this place.
00:56:44It's not just a camera.
00:56:45It's literally a bird.
00:56:53We went back and forth
00:56:55between all the guys.
00:56:56We had to send our notes
00:56:57back to all the surviving
00:56:59Beatles and Yoko
00:57:00for their approval
00:57:01of the ideas.
00:57:03And then Derek Taylor
00:57:05was incredibly helpful.
00:57:06When we presented
00:57:07a sketch of the idea
00:57:08he sent us
00:57:09a two-page note back
00:57:11which was a beautiful
00:57:12piece of poetry
00:57:13which not only reaffirmed
00:57:15the potential of the idea
00:57:18but also gave us
00:57:18a lot of attitude
00:57:19toward the way
00:57:20the material should be approached.
00:57:48We try to shoot in all the authentic locations.
00:57:51where things happened.
00:57:52We shot Penny Lane
00:57:53and Penny Lane
00:57:53and we had the art department
00:57:54rebuild it
00:57:55as close to what it was
00:57:57as possible.
00:57:57Of course we shot
00:57:58the liver birds
00:57:59helicopter shot
00:57:59the liver birds
00:58:00in Liverpool.
00:58:01We shot near the docks
00:58:02for the docks in Liverpool
00:58:03which was a reference
00:58:04as close to John's father.
00:58:13I am the puppy girl
00:58:15from Penny Lane.
00:58:26We had a huge casting sessions.
00:58:28We had hundreds
00:58:29and hundreds of people
00:58:29on tape.
00:58:30We went through the tapes
00:58:31both in London
00:58:32and in Liverpool
00:58:34and in Manchester
00:58:37and almost all the people
00:58:38were local people.
00:58:39I think maybe
00:58:40a few actors from London
00:58:43Paperback Writer
00:58:43I think was an actor
00:58:44from London
00:58:46but most of them
00:58:47were basically local people
00:58:48who participated in the piece.
00:58:51Got it?
00:58:51Okay, can you do that?
00:58:53Yeah.
00:58:53Alright?
00:59:15I'm going to do
00:59:16like a banquet of piggies
00:59:17based on the
00:59:21Sgt. Pepper cover
00:59:22with all these celebrities
00:59:23all these different people
00:59:24having dinner.
00:59:26We weren't quite sure
00:59:26how we were going to do it.
00:59:27It was probably going to have
00:59:28to be done digitally
00:59:28after the fact
00:59:29after the production phase.
00:59:31And the art director
00:59:33had gone to a prop house
00:59:34and found these fabulous
00:59:35little piggy masks.
00:59:37Instead of doing
00:59:38this really complicated
00:59:39and probably ponderous scene
00:59:40with all these people
00:59:41at a banquet
00:59:42we just had these
00:59:43little children
00:59:44with these very
00:59:45unusual masks
00:59:46skipping down
00:59:47a little lane
00:59:47in Liverpool
00:59:48which is far more powerful
00:59:50and much more
00:59:51in keeping with the
00:59:52kind of spirit
00:59:53of what the Beatles
00:59:53were at that period
00:59:54of time.
01:00:07We storyboarded
01:00:08all the ideas
01:00:09with tons of points
01:00:10of view
01:00:11about the material
01:00:12but we ignored
01:00:13the storyboards
01:00:13completely once we got
01:00:14to see everything
01:00:16in practicality.
01:00:17There's nothing
01:00:18storyboarded
01:00:19about the idea
01:00:19at all.
01:00:21You couldn't storyboard
01:00:22the way the camera
01:00:23flowed because
01:00:24of the difference
01:00:24of perspective
01:00:24of the shots
01:00:25and things.
01:00:26And one shot
01:00:26in particular
01:00:27was storyboarded
01:00:28the Lotus crashing.
01:00:31It was storyboarded
01:00:32from above
01:00:32so the bird sees
01:00:33from above
01:00:33and you go above it.
01:00:34We shot it like that
01:00:35for hours
01:00:35and hours
01:00:35and hours
01:00:37and then at the last
01:00:37minute I had
01:00:38the steadicam operator
01:00:39do two or three takes
01:00:40coming from a more
01:00:41normal perspective
01:00:43and in the flow
01:00:44of the piece
01:00:44that became
01:00:45the key
01:00:46way we showed it.
01:00:48It was much more
01:00:48interesting that way.
01:00:50Much more interesting.
01:00:52The flow
01:00:53the shot from above
01:00:54looked nice
01:00:55on a storyboard
01:00:56and it was kind of
01:00:56clever
01:00:57from a bird's point
01:00:58of view
01:00:58but it was better
01:00:59to bring the bird
01:01:00down to a human
01:01:00point of view
01:01:01to see the emotion
01:01:02in the car
01:01:03and the smoke
01:01:03in the people.
01:01:24The videos
01:01:27are made up
01:01:27of referenced
01:01:29archival footage
01:01:30footage that existed
01:01:33and footage
01:01:35that we filmed
01:01:37live
01:01:37and then
01:01:38bits and pieces
01:01:39were put in
01:01:40at various places
01:01:42which were shot
01:01:43on a green screen stage
01:01:44which is a way
01:01:45to just marry
01:01:46a film
01:01:48almost everybody
01:01:48knows what that
01:01:49means now
01:01:49which marries
01:01:52the live background
01:01:53and putting elements
01:01:54into a live background
01:01:55to enhance it.
01:01:56A couple of shots
01:01:57would be the dog
01:01:58running across
01:01:59the front of
01:02:00the Eleanor Rigby
01:02:02cemetery.
01:02:18The Elephant was put in
01:02:20in post-production
01:02:20we didn't have
01:02:21an elephant in Liverpool
01:02:22walking through
01:02:22that hotel room.
01:02:32We had to shoot
01:02:33the Elephant
01:02:33because when Ringo
01:02:34saw a rough cut
01:02:34he wanted his elephant
01:02:38and
01:02:40we hadn't shot
01:02:41the Elephant
01:02:41as part of the piece
01:02:44and Neil called
01:02:45and said
01:02:46Ringo wants an elephant
01:02:46in the piece
01:02:47he says
01:02:48he likes everything
01:02:49but he misses
01:02:49his Elephant.
01:02:50George wanted his sitar
01:02:53and Ringo
01:02:54wanted an elephant
01:02:56and
01:02:57so we
01:02:57got an elephant
01:02:58and shot it
01:02:59on a green screen
01:03:00and snuck it in
01:03:01that procession
01:03:03in that ballroom.
01:03:18The big star
01:03:18of the piece
01:03:19is a Russian crane
01:03:19called the Aquila crane
01:03:21which gives these
01:03:22big sweeping moves
01:03:24and the shot
01:03:25at Abbey Road
01:03:26at the end
01:03:26it comes down
01:03:26and sweeps up again
01:03:27couldn't be done
01:03:28with a Luma crane.
01:03:47That was the star
01:03:48of the piece
01:03:48then we used
01:03:50the Luma crane
01:03:51for more
01:03:52precise shots
01:03:53smaller shots
01:03:54and a Steadicam operator
01:03:57and we also
01:03:58had a little tiny
01:04:00remote controlled
01:04:01helicopter
01:04:02tiny helicopter
01:04:03with a video camera
01:04:04on it
01:04:04to do intricate shots
01:04:12The thing that
01:04:13I'm most happy
01:04:14with is the fact
01:04:15that the seamlessness
01:04:16of the piece
01:04:18works
01:04:18the transition
01:04:19between scenes
01:04:20doesn't look like
01:04:21oh all of a sudden
01:04:21there's a transition
01:04:22many of them
01:04:23are completely invisible
01:04:24to even people
01:04:24in the industry
01:04:25so the seamlessness
01:04:27of everything
01:04:28marrying all these
01:04:28bits and pieces
01:04:29of things
01:04:29archival footage
01:04:30new footage
01:04:32shot on green screen
01:04:33plus the production
01:04:35footage
01:04:35which was live
01:04:36made me very happy
01:05:00we're given this piece
01:05:03that represents something
01:05:04that's incredibly precious
01:05:05to untold numbers
01:05:08of people
01:05:09around the world
01:05:10and we had to protect it
01:05:12in addition to do something
01:05:13that inspired people
01:05:14so there was a duality there
01:05:17one we want to do something
01:05:18very creative
01:05:19and functional
01:05:21and do the job
01:05:23as a professional piece
01:05:24on the other hand
01:05:25we had to respect
01:05:27everything that had gone before
01:05:29I felt that we succeeded
01:05:30in respecting the tradition
01:05:34and bringing it forward
01:05:35and inspiring it
01:05:37and looking at it
01:05:38in a fresh and unusual way
01:05:39which even reflects
01:05:41how the song was created
01:05:42one of the things
01:05:43that's a bit heartbreaking
01:05:44is that the player
01:05:46at the end
01:05:47the ukulele player
01:05:50or banjo
01:05:51whatever you want to call it
01:05:51George wanted to play
01:05:52that part
01:05:53and I resisted
01:05:54saying that
01:05:54if I put him in
01:05:55then I'd have to put
01:05:56some of the other Beatles in
01:05:56and I didn't think
01:05:57we wanted to see
01:05:58contemporary Beatles
01:05:59in the piece
01:06:00so I said
01:06:00no no no
01:06:01and he says
01:06:02okay
01:06:04thinking that they had
01:06:05sampled an archival
01:06:06piece of music
01:06:06and it turns out
01:06:07that George had
01:06:08actually performed
01:06:09that on the
01:06:12song
01:06:12had I known that
01:06:13I would have had him do it
01:06:14because you only see him
01:06:15from the back anyway
01:06:15but I'm actually
01:06:17heartbroken about
01:06:17not letting him do that piece
01:06:18especially now
01:06:19more than ever
01:06:21music
01:06:37it's going
01:06:38quite nice
01:06:43¡Gracias!
01:07:09...and for the boys to make their own life story rather than entrust it to somebody else.
01:07:14And that made sense because they knew better than anybody what had been going on.
01:07:20And somebody thought it would be a good idea to have audio equivalent.
01:07:24But it's no good just doing a soundtrack of a film.
01:07:27Because if you do that there's an awful lot of missing, you know, the vision takes over.
01:07:32So what we're providing is something that is a complement to it.
01:07:37That's something that runs parallel but is pure sound.
01:07:40The main gist of it is with the music to find the most ancient Beatle music possible.
01:07:48And come in chronological order through the various other records we'd made.
01:07:56And bring it up to date, up to now.
01:07:59What we do is we lead the CD with the new song Free As A Bird.
01:08:03Which we figure is what people are waiting to hear.
01:08:06You know, how we did on that. So that's the opening track.
01:08:10And then what we do is flashback.
01:08:13Also as the documentary starts and then goes backwards.
01:08:18You know, there's a little area in the very opening where it says,
01:08:21Let's go back, back, back, back, back, back. And it backs up until Ringo is about six months old.
01:08:30And then the record we thought, you know, could work in that respect.
01:08:37There's a lot of stuff, you know, from old tape recorders of George.
01:08:42You know, George on some, but Paul and John messing around.
01:08:45You know, singing and playing guitars before I was in the band.
01:08:49And then we go into old recordings, which are from when we were about 14 or 15.
01:08:55Which we haven't heard forever. You know, they're like little things in my front room.
01:09:00And these are interesting because they include a track where Stuart Sutcliffe is playing.
01:09:09And its bass guitar is not very good, but it's historic.
01:09:14You know, we're talking really about a historical thing now.
01:09:18And I for one don't mind it being old and scratchy because most of the music I buy is old
01:09:24and scratchy.
01:09:25You know, music that was recorded in the very early, you know, 20s and 30s and stuff.
01:09:32I like a bit of tape hiss, personally.
01:09:35But it's a good story. It's not the quality you're listening to.
01:09:37It's the sort of story. And you can see our development. You can see it happening.
01:09:42And we hear some of the stuff at EMI.
01:09:45When I first met them in 1962, there are a couple of tracks there.
01:09:49The very early version of Love Me Do, with Pete Best on drums, which no one's heard.
01:09:54Now, no tapes exist of that, but he managed to find it on a little acetate,
01:10:01because they'd cut it onto disc.
01:10:03He found that, and then that's been recopied back onto tape.
01:10:07When I was asked to do this project, I said,
01:10:11there's no way that I'm going to mix this on a modern digital machine,
01:10:15because it wouldn't be true to type.
01:10:18It wouldn't be what people did in those days.
01:10:21And I'm dealing with these old tapes.
01:10:23So I asked EMI if they could find an old desk and bring it in for me.
01:10:27And so they managed to find this one,
01:10:30which was still in the possession of one of their engineers.
01:10:33And they brought it in.
01:10:34And it's a super desk, marvellous machine to have.
01:10:37This was in number two studio Abbey Road.
01:10:39And it was the state of the art in those days.
01:10:43But it now looks so old fashioned.
01:10:46But of course, it's very appropriate that we work on this,
01:10:51because it actually does make a different sound from today's desks.
01:10:54So we're getting right back retro to the old days and doing this stuff.
01:10:58And it sounds all the better for it.
01:11:00And I'm staying in the analogue and the old fashioned mode
01:11:03until the very last moment, until it goes onto CD,
01:11:07so that we keep the authenticity of it.
01:11:10A lot of these tapes we're working on
01:11:12are two track, four track, eight track, never more than eight track.
01:11:17And we still have the old tapes.
01:11:20And this is an old box.
01:11:22And they're one inch tapes.
01:11:24And they're a four track machine.
01:11:26It's a modern machine.
01:11:27But it is still the old vintage tapes of 32 years ago.
01:11:31It's like the Beatles progression.
01:11:34And I'm halfway through that CD before I enter the picture.
01:11:37It just keeps on coming.
01:11:39There's a lot of very early years,
01:11:41but stuff that hasn't been heard.
01:11:43Television or radio shows from Sweden
01:11:47and various things from the Command Performance,
01:11:50things that just had a one showing on television,
01:11:52but we managed to find the soundtracks
01:11:56to some variety shows we did on television in those early days.
01:12:00There isn't a lot of live stuff out on the Beatles,
01:12:02and I haven't even got it.
01:12:03So it was a pleasure for me to hear, you know,
01:12:07because they were a great little band.
01:12:09We've been listening to every take of every song we've done
01:12:13and going back over those times.
01:12:15And we've discovered some interesting stuff.
01:12:17I mean, some of the very early takes of most numbers are interesting.
01:12:22Seeing how the songs developed, how they changed.
01:12:26In fact, in some instances they started quite differently
01:12:29to the masters that everybody knows.
01:12:31And we get into sort of cross-fading, like, you know,
01:12:34take one to take four.
01:12:37So, and some of them were, you know,
01:12:41we were just working the song out, you know,
01:12:43still running through it because we always ran through the song.
01:12:45We very seldom stayed, you know, sat around, like,
01:12:48when the tape was running, said,
01:12:50oh, let's do this now, like, run it down.
01:12:52And so the attitude it was, like,
01:12:56at the beginning to seven takes later,
01:12:59it's just like a mile, you know.
01:13:01It's not like, oh, we've changed, you know, a note.
01:13:04I mean, we've changed the whole thing,
01:13:06working at it, working at it, changing it, changing it.
01:13:08One of the strengths of the Beatles was the fact
01:13:10that they had eternal curiosity.
01:13:13They had eternal quest for something new.
01:13:16Exhaustively so for me.
01:13:17I mean, they were always saying,
01:13:18what new sound can we have, you know?
01:13:20What other instruments do you know?
01:13:22What can you do to make this better?
01:13:24Give me a different sound of the voice.
01:13:26And they were not content with what they had yesterday.
01:13:30The one interesting thing was that
01:13:33we always thought that people like the Supremes
01:13:36kind of made a good record.
01:13:38But then they repeated the good record,
01:13:40and the next record was sort of the same record.
01:13:42It was the Supreme sound, the Motown sound.
01:13:44So after about three of those,
01:13:46we liked the first one really,
01:13:48the second one was not so good.
01:13:49And it paled a bit, you know?
01:13:51And so I think we were kind of conscious
01:13:53of trying not to repeat ourselves.
01:13:55And the songwriting got better,
01:13:57and our playing got better,
01:13:57so it just all, you know, it all just grew.
01:14:00The music was always there in the background,
01:14:02reflecting our feelings and our desires,
01:14:07and all the various things we'd experienced.
01:14:13And I think it does.
01:14:15It goes in leaps and bounds,
01:14:16and it's pretty interesting.
01:14:20Now I thought we'd have a listen to a bit of an old recording
01:14:25that we've been working on.
01:14:26This doesn't require a great deal of balancing.
01:14:29It's a recording made on the 19th of January 1967,
01:14:32and the reason it doesn't require much balancing
01:14:34is it's only got two tracks on it.
01:14:37It was a four-track tape,
01:14:39but this was the very first time we heard
01:14:41A Day in the Life in the studio.
01:14:44And we didn't use this.
01:14:46This was the first version.
01:14:48The master came a bit later.
01:14:49And this is the version without Paul's middle bit
01:14:54and without the orchestra.
01:14:55And John is just singing it, really, for himself.
01:14:59And I think it's charming.
01:15:01And I'm going to put it up.
01:15:03Okay, Paul, let's have a listen.
01:15:12Sugar Plum Fairy, Sugar Plum Fairy.
01:15:18Sugar Plum Fairy.
01:15:27I read the news today Oh boy
01:15:34About a lucky man who made the grave
01:15:40And though the news was rather sad
01:15:46But I just had to laugh
01:15:52I saw the photograph
01:16:14I think that early take of John is so charming, so natural.
01:16:19He wasn't expecting people 32 years later to be listening to it.
01:16:24Sometimes, after 19 takes, no matter how professional you are, the boredom creeps in, you can just
01:16:29hear it.
01:16:30It goes very perfect, but suddenly, if you listen to an early take, you go, God, it sounds
01:16:35like they were really enjoying it on that note, and that's one of the things I like about
01:16:39it.
01:16:40Now, as it gets into all the other stuff, we found different outtakes, or maybe a version
01:16:46of something that had maybe some vocals that were different to the vocals that ended up
01:16:52on the master.
01:16:53So what we've done is present the alternate version.
01:16:56You hear the songs for what they are.
01:17:00I know, George Martin, when we were listening to a lot of this stuff, he said, well, why
01:17:03did we ever feel we had to do them again?
01:17:05Does this sound so good?
01:17:06Just on the road, I said, well, you know, probably the same old creative thing, ooh, maybe we could
01:17:10get it a bit better if we put a little bit of drums on it, or maybe if we tried
01:17:14banjo.
01:17:14You know, you're always questing to try and get better.
01:17:18Normally, I don't think back on the past at all, but I've had to because of this, and
01:17:23it's been a strange experience.
01:17:24Paul actually said to me, he said, you know, it's hearing ourselves as we were 30 years
01:17:29ago, 25 years ago, and hearing us chatting away.
01:17:35It's a strange experience.
01:17:37It's like looking into an old scrapbook, but it's coming to life most vividly.
01:18:08But I'm sorry.
01:18:20I'm sorry.
01:18:33I'm sorry.
01:18:36I'm sorry.
01:18:36I was just wondering if I could do something for you to come in.
01:18:36I don't think so.
01:18:36I mean, the whole thing is it's conversation.
01:18:36Gracias.
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